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Home 
Draping Is 
the Newest 
Fad'' 




HE war compelled us to learn to do 
many things for ourselves that we 
had been in the habit of allowing 
others to do for us. Skilled labor was in 
demand in the manufacture of munitions. 
The military forces took many mechanics 
from their shops and work rooms. 

The habit of doing for ourselves what 
we are able to do was a good one and 
it is a habit that the thrifty will endeavor 
to preserve. To help the housewife, who 
loves to make her home look comfy and 
attractive, the YMASS Publications were 
written and published in as inexpensive a 
manner as possible. 

This particular book is one of a series 
devoted to the subject of simplified ways 
to drape the home, make furniture covers, 
cushions and things of a similar character. 

It was compiled by one who has spent 
years in seeking new and easier methods 
of making the things that he tells his reader 
how to make. 

By means of illustrations and explana- 
tions that any person who is handy with 
the needle can readily understand, he 
teaches one to accomplish, in a short time, 
what skilled artisans spend years to learn 
and then receive a high wage for doing. 



Home Draping 
Simplified 



The YMASS Methods of Cutting 
and Making Draperies 



Ymass Publications 




copyright 1919 
Ymass Publishing Company, 

ATLANTIC CITY, N. J. 



■YMASS METHOD S- 



Contents 



PAGES 

It's Easy When You Know How 3 

Color Harmonizing 3, 4 

Simplified Methods Explained 4 to 6 

Cutting 

Lace Curtains 

Portieres and Curtains 

Fringe Application 

Dutch Curtains 7, 8 

Valance Overdrape 9, 10 

Pinch Pleat Valance Hanging 11 to 13 

Scalloped Valance 14, 15 

Lambrequin Drapery 16, 17 

Festoon Drapes 18 to 22 

The Modern Drape 23, 24 

Shirred Valance Drape 25, 26 

Combination Lambrequin Drape 27, 28 

Shirred Curtains 29, 30 

Draw Curtains 31, 32 

©CI.A53G5 '9 



--.,.-. ^ 



■Home Draping is the Newest Fad- 



■YMASS METHODS- 



It's Easy When You 
Know How 

To cut and hang a pretty bay window set of drap- 
eries is one of the most tedious and trying things milady 
has ever attempted, if she goes about the matter without 
knowing how to do it. If- the directions and explana- 
tions in this book are carefully studied and followed, 
there will be no difficulty whatever. Moreover, it can be 
completed in far less time than one would expect. 

The Ymass System discloses methods that have been 
used successfully by the author in the upholstery depart- 
ments of some of the largest stores of this country and 
of Europe. It efifects considerable savings in time and 
material. 

To thoroughly master the ideas, one need only to 
read over the directions several times and then, by the 
aid of the illustrations, make any style desired. Noth- 
ing has been left undone to keep the explanations clear 
and free from superfluous matter that might tend to 
confuse the novice. 



Color Harmonizing 

The most popular color schemes are carried out with 
four dominating shades: blue, rose, gold and gray, or 
combination with any one of these hues as a base. 

Of recent years, black has been much in favor when 
combined with any of these colors. Its use can scarcely 
be recommended now, however, except where the hang- 
ings are frequently changed. 

When the furniture is upholstered in flowered tap- 
estry or striped or brocaded velour, and the floor cover- 
ing is of similar design, the drape should be made from 
a plain fabric of the shade that predominates in the 
furnishings. 



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■YMASS METHODS- 



Different floral designs or two different shades of a 
plain material should never be used in the same room. 

Where the furniture is covered with Cretonne, 
Chintz, Damask, Poplin or Repp, the hangings should 
be made of the same material or a combination of that 
material with a plain fabric. This treatment may be 
applied in several of the styles described in this book. 

Bedrooms are usually treated with Cretonne, Chintz, 
Poplin or Casement Cloth, either in plain shades or 
floral effects. 

The living room and the library require a fabric of 
more sturdy texture, such as Velour, Damask, Sun-fast 
Madras or Repp. As a rule, the same material that has 
been used to cover the furniture is used to drape. 

If it is not possible to secure the identical weave that 
has been used in the upholstering, then a plain fabric of 
its predominating shade may be used. 

Where the upholstering is in leather, the wall paper 
and floor coverings become the guide in selecting the 
hangings. 

Blue, gold and brown lend the best effects in treat- 
ing the dining-room. Delft Blue is popular. The fab- 
rics used are Repp, Poplin, Madras, Velours and two- 
tone shades of Cretonne. 



Simplified Methods 
Explained 

A number of practical helps are offered under this 
heading that tend to make draping considerably easier 
in many ways for those who have never attempted any- 
thing of the kind. 

If these pages are carefully studied, the most com- 
mon mistakes can easily be avoided. 

Before purchasing materials, all measurements 
should be accurately taken and jotted down with nota- 
tions what each represents. Carefully read over the 



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YM ASS METHODS 



suggestions contained in the instructions for extra al- 
lowances that are necessary, and note them down also. 
It is well, even then, to add a little extra yardage as a 
precaution. 

Cutting 

Before cutting a piece of goods with birds or flowers 
as the motif, make sure that the figures in the design has 
a natural position. 

Care should be observed that the drops exactly 
match one another. 

If the motif is birds, they should appear flying to- 
ward the center and at even height. 

If a striped fabric is used, there should be an equal 
distribution of stripes to each drop. 

Full allowance should be made for hems and head- 
ings. This is most important. 

Lace Curtains 

A panel or pair of lace curtains, with a scallop or 
design at the bottom, should just touch the window sill. 
The overhanging should be even with the lace curtain 
or extend slightly below it. 

It is always well to turn in a certain amount of mate- 
rial at the top hem to allow for shrinkage. It is also 
advisable to make a heading at the top when no over- 
hanging is used. 

A plain hem at the top may be used on lace curtains 
when there is an overhanging. 

Care must be observed that the lace curtains extend 
over the window shades. 

Lace curtains are frequently ruined through the 
rusting of metal rods. It is, therefore, important to 
cover rod with any white material obtainable. 

Portieres and Curtains 

To make portieres of two faces of velour, allow about 
2 inches greater than the length required. When 



Home Draping is the Newest Fad 



■YMASS METHOD S- 



stitching the sides together, fold back each breadth 
about 1 Yz inches, and pin or baste them together. Make 
sure that the nap of both pieces of velour runs the same 
way. Sew on machine from top to bottom, about 1 inch 
from each edge, to form a heading, with a large stitch 
and the bobbin regulated to feed loosely. It is most 
important to follow the direction of the nap; otherwise 
the hanging will pucker. 

Finish the top complete, either with casing for pole 
or attach rings. Hang the portieres on the pole and 
mark bottom for proper depth. 

Hem the bottom of each breadth of velour sepa- 
rately. By leaving the bottom open, the portiere will 
hang gracefully in position. 

In making an ordinary single-breadth portiere, the 
simplest and most practical method is to cut the goods a 
few inches greater than the required depth, hem the 
sides and then finish the top complete. 

When the hanging has been applied on the pole, 
mark the proper depth of the portiere and hem the bot- 
tom or apply fringe. 

It is also possible to apply the same method in the 
making of window hangings, with or without lining. 

Fringe Application 

When fringe is applied on lined draperies, hand 
sewing is preferable. If a machine is used, place the 
material on top of the fringe and sew with large stitches. 
This method will be found a little difficult at first, but 
one can very quickl)^ acquire the knack of it. 

To apply fringe to an unlined drapery, and prevent 
puckering, it should be sewed on in a similar manner. 

Another good way to finish an edge of a drapery 
where fringe is to be applied, is to fold the edge outward 
about a quarter of an inch and baste. Then sew the 
fringe over it. The efiFect of this is a neat edge on both 
sides, besides causing the curtain to hang straight. 



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■YMASS METHODS" 



Dutch Curtains 

Style I 

Dutch curtains are effectively used as overhangings 
for single, double or bay windows. They are also util- 
ized as door portieres and in sun-parlor draping. 



This style can be 
made from materials 
such as Cretonne, 
Poplin, Repp, Velour 
and goods of similar 
texture. 

They then act as 
overhangings to lace 
curtains, panels or 
half sash curtains. 

It is permissible to 
apply the same treat- 
ment with soft mate- 
rials, such as Voile, 
Scrim, Marquisette, 
Lace and Filet, to be 
used as an overhang- 
ing. 

First, the meas- 
urement of the net length and width must be taken and 
marked down. 

For a window 28 to 40 inches wide, a 36-inch mate- 
rial, divided in half, will suffice for the two drops. 

For the valance between, allow half more for full- 
ness, if material is heavy, and double the width if it is 
soft. 

For wider windows, 50-inch materials can be used 




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■YMASS METHOD S- 



and divided similarly, or 36-inch goods for each drop, 
with valance allowed in proportion. 

After they are cut to the right length, see that the 
drops are mates. 

Hem all the way round except at the top. 

Cut the valance to a depth in the proportion desired. 

Where fringe is used for the valance only, it should 
be sewed on first and the valance pinned to the drops so 
that they are even at the top. Sew on the wrong side. 

Where fringe or edging is used all the way round, 
it can be sewed on after the curtain is complete. 

Next fold over the full curtain at the top and sew it. 

Then make another seam in the center, which will 
give one inch for heading and one inch for the rod. 

Flat goose-neck rods are preferable for windows. 



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-YMASS METHODS- 



Valance Overdrape 

Style 2 

This effect is adaptable for almost any room and can 
be carried out with most any fabric. 

A number of attractive combinations are possible. 
A plain material with a border of Cretonne from 3 to 5 

inches wide, sewed on 
both valance and 
drops about 3 inches 
from the edge (see 
Style 10) is one fa- 
vorite treatment. 

Another involves 
the use of a black rib- 
bon, from 2 to 4 inches 
wide, applied on a 
plain gold, rose or 
blue. 

Fringe may be 
used for the valance 
alone or for both val- 
ance and drop. 

A very simple 
treatment of this style 
is introduced, whereby 
only one rod need be used for the entire hanging. 

When measurements for width and length have been 
taken, cut the valance to the depth decided upon, allow- 
ing an additional two-thirds of the full width of the 
window for shirring. 

Sew fringe at the bottom or hem, whichever way 
has been planned, and then hem the ends. 




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YMASS METHODS- 



Fold over the entire width of the valance at the top 
about two inches and sew it. Then make another hem 
in the center, thus giving an inch for heading and an- 
other for the rod. This completes the valance. 

Cut the drops the length desired. Sew on fringe 
or hem all but the tops. 

Attach drops to the wrong side of the valance at the 
extreme end. Sew them toward the center on the second 
seam of the valance intended for the rod. 

When the rod has been inserted, it carries the entire 
curtain. 

Then the drops and valance are together shirred 
and regulated in the proportion desired. 

This treatment is recommended for single, double 
and triple windows. 

To thus drape a double window, get the center of 
the valance by folding in half, sewing on the third drop 
in the manner above described. 

A triple window can be treated similarly. 

Drops in the center of double and triple windows are 
often eliminated because they tend to retard light and 
air. In this case use a drop at each end with a valance 
across. 

Use a double goose-neck rod for the overdrape and 
lace curtain. For purposes of economy, however, single 
rods can be used for the lace curtains and a goose-neck 
rod for the overdrape. 



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YMASS METHODS- 



Pinch Pleated Valance 
Hanging 

Style 3 

This number may 
be used in most any 
room and from any 
kind of curtain ma- 
terial. 

There are two 
ways to make it ; 
with a pinch pleat or 
with a box pleat. 

A wooden frame 
is required, about 1 
inch thick, 2 or 3 
inches wide, and 
made to fit the win- 
dow (see Diagram 
7B). 

1 1 extends out 
from the window 
frame from 2 to 3 

inches, allowing room underneath for window shades 

and lace curtains. 

Insert screw-eyes into the back of the frame, about 
three-quarters of an inch from the top, and about 2 or 
3 inches from each end. 

Then place the frame in position against the window 
frame, and mark places opposite the screw-eyes for 
hooks. Screw the hooks into the window frame so that 
they will catch the screw-eyes and hold the curtain 
frame firmly in place. 




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YMASS METHODS- 



Then take the curtain frame off the hooks and place 
it on a table, marking off spaces on the upper edge for 
pleats, which should be from 6 to 8 inches apart. 

The depth of the valance for an average window, 
6 to 7 feet high, should be from 14 to 16 inches. 

Cut the goods twice the width of the window to 
obtain double fullness. 

Any seams that occur in the valance should be 
worked into the pleats. 

Either apply fringe at the bottom or hem, whichever 
way planned, and then hem the ends. 

Make a 2-inch hem at the top. Then get the center 
of the frame and the center of the valance and start 
pleating, tacking from center to left and from center to 
right, in order that pleats may be evenly balanced. 

Next fold the goods into a box pleat about 2 inches 
wide. Tack the pleats lightly to the upper edge of the 
frame, using small tacks to hold the valance in place 
until you get them properly proportioned. 

Then remove the tacks, and as you take them out, 
tack the corner of each pleat on the inside fold, thus 
concealingf the tacks. 



'fa 



The box pleats should be slightly loose, but between 
pleats the goods must be stretched taut against the 
frame to conceal the wood. 

Another precaution to keep the top of the frame hid- 
den from view is to have the valance extend about a 
quarter of an inch above it. 

To pinch pleat the valance, use a heavy double thread 
of a shade that matches that of the material. 



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■YMASS METHODS- 



Fold pleats into 3 smaller pleats along the 2-mch 
hem, as shown in illustration. 

Hold these pleats together and pass the needle 
through them once each way. Then knot. This method 
of stitching will conceal the thread. 

The drops can be applied on the inside of the frame 
with a rod. 

This style can be effectively carried out by the use 
of either a loop-back hanging or straight drop effect, 
as illustrated. 

For the loop-back style, make a band of the same 
material about 2 inches wide. Sew two small rings at 
each end. Place a small cup hook on the window frame 
at the proper height for the loops. 

The Pinch Pleat Valance may be used over door por- 
tieres and over draw curtains. 

An excellent arrangement for drawing back the 
drops is described in Style 12. 



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■YMASS METHODS- 



Scalloped Valance 

(Pinch Pleated) 

Style 4 




Cretonne, Poplin or Velour can be used for the Scalloped 
Valance. Velour combined with figured tapestry or a light- 
weight plain material combined with Cretonne are treatments 
sometimes favored. 

An example of the latter efifect is a plain fabric for drops 
with the scallops made from a combination of the same material 
and one that is figured. 

The motif in this case is a set figure such as a bird, a basket 
or something similar in a design that will permit arranging in 
the centre of the scallop. 

The ends of the valance that cover the hangings are of the 
figured goods and the scallops next to them are plain, with an 
equal division of plain and figured scallops. 

The loose pleats that conceal the seams are made from plain 
material to correspond with the drops. 



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■YMASS METHODS- 



When a figured effect is desired for the hangings, the valance 
is worked out in plain material at the ends and the scallops con- 
trasting, as described above. 

Fringe can be used either for the valance alone or for both 
valance and drops. 

Fringe and tassels should match the shades of both the 
fabrics used. 

This number can be carried out for single or double windows. 

Velour and Tapestry are recommended for living room, 
drawing room, reception hall and dining room; lighter weight 
materials for bed room or sun parlor. 

Make a frame similar to that which is described in Styles 
3, 6 and 7, the width of the window, single, double or triple, as 
the case may be. 

For one color treatment cut the valance to a length that will 
allow it to fit completely around the frame. 

When the hangings are to reach to the window sill, the 
valance should be 14 to 16 inches deep, or 2 inches deeper when 
they extend to the floor. 

The half scallops at the extreme ends require a depth of 
from 2 to 4 inches greater. 

The divisions for scallops should be from 8 to 12 inches 
wide. 

If valance is made from a plain material, cut the goods to a 
depth equal to its deepest part and long enough to stretch across 
the window and around the corners of the frame. 

Divide the goods into as many scallops as desired and cut 
them out, each to be about 2 inches deep, with the half scallops 
at the ends about 4 inches deeper. 

If valance is made from a combination of fabrics, cut out 
a pattern, the shape of the one above described. Then cut out 
the two different kinds of material from this pattern, assorting 
them evenly. Next join the contrasting panels on the wrong 
side. 

Press out flat, sew on fringe and then hem the ends. 

The loose pleats should be cut to a depth 2 inches less than 
the deepest part of the scallop. To make it, refer to Style 6, 
Diagrams 1 and 2. 

When the valance is complete, stretch it over the frame, not 
too tightly, then tack it to the top edge. Next tack on the loose 
pleats between scallops on the same edge of the frame over the 
valance. If the weight of the tassel does not hold the pleat flat 
against the valance, a concealed pin or a few stitches from the 
back of the valance to the back of the pleat will keep it in place. 

Another method is to tack the valance on the front of the 
frame, at the top, and the loose pleats on top of that, and then use 
edging or fringe to conceal tacks. 

Directions for making the hangings and for hanging the 
entire drapery and lace curtains are the same as those described 
in Style 3. 



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■YMASS METHODS- 



Lambrequin Drapery 

Style s 

A heavy fabric, such as Repp, Damask, plain colored 
Tapestry or Velour, is usually used in making this par- 
ticular hanging-. 

The last-mentioned material is very effective, espe- 
cially when applied with gold braid or fringe trimming 

at the bottom edge of 
the Lambrequin. 

The Lambrequin 
Drape is favored for 
library, living-room, 
dining-room, recep- 
tion hall and draw- 
ing-room. 

There are other 
and more compli- 
cated ways to work 
it out, but the one 
selected for this book 
was chosen because 
it is the simplest. 

For a 6-foot win- 
dow, the depth of the 
Lambrequin's center 
should be 12 inches 
and the ends about 
16 inches. 

For French Windows or Door Portieres, the depth 
should be 14 inches at the center and 20 inches at the 
ends. 

Cut material the width of the window, allowing suf- 
ficient to reach around the ends of the frame, and as 
deep as the ends will measure, with an allowance of one 
inch extra for work. 

Fold the piece of goods, lengthwise in half, with 
wrong side out. Mark off with chalk and cut out this 
particular design. 

The manner in which this is done is fully described 
and illustrated by diagram in Style 8. 




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■YMASS METHODS- 



Overstitch the edge from end to end, and repeat in 
the opposite direction, so that stitches cross one another. 
This prevents fraying. Care must be observed, how- 
ever, that the stitching is not too tight or the design 
will be changed in shape. 

Hem the ends and apply fringe at the bottom. Hand 
sewing is best for this operation. 

If it is desired to machine stitch the fringe on, 
it should be placed underneath the goods. The ma- 
chine must be regulated to make the largest stitch and 
run slowly, so that it will properly mitre the corners of 
the design. If possible, regulate the bobbin so that it 
will feed the thread loosely. 

When lining is used, place Lambrequin on lining, 
face to face and cut a trifle larger. Sew on the wrong 
side, bottom first and then the ends. Loosely stitch by 
hand, using care in shaping out the corners. 

Then turn the Lambrequin right side outward, and 
stitch both lining and material on the right side across 
the top. 

To flatten out the design after sewing has been com- 
pleted, press it on the wrong side so that it will hang- 
rigid. Then apply fringe as above indicated. 

If gold braid is used, after pressing, baste on the 
braid, following around the shape of the design. Mitre 
the corners. Sew by machine with loose thread and 
large stitches. Braid should project about a quarter of 
an inch below the bottom edge of the Lambrequin. 

Place the braid downward and the material on top of 
it. Then sew the bottom stitch in this manner. The 
second seam should be sewn with the braid on top. 

When braid is thus used, a second pressing is neces- 
sary to flatten it out also. 

By making a hem at the top, a goose-neck flat rod 
can be used to hang this drapery; but to get the better 
effect, the frame arrangement is recommended. 

Tack Lambrequin on the upper edge of the frame 
with small tacks, stretching the goods tightly from cen- 
ter to right and from center to left. 

Directions for making the hangings, the wooden 
frame and for hanging the drapery are the same as 
those given for Style 3. 



■Home Draping is the Newest Fad- 



■YMASS METHODS- 



Festoon Drapes 

Styles 6 and 7 

When properly executed, this is considered a smart 
overdrape for Hving-room, drawing-room, library and 
dining room. 

Style 6 may be treated with two different fabrics, 
plain and flowered, as illustrated, or all plain, and 

again, all flowered. 

Style 7 must be 
treated entirely with 
the one effect, either 
plain or figured. 

A heavy fabric 
like Repp or Velour 
is recommended. 

The illustrations 
depict single win- 
dows. Double or 
triple windows can 
be similarly treated 
merely by the addi- 
tion of more fes- 
toons. 

These drapes 
may be used with or 
:'0 ^^>W7 ly without hangings. 

When hangings are not desired, the tail drops are 
made about two-thirds the depth of the window. When 
hangings are used, the tail drops are made about one- 
half the depth of the window or less. 

One-piece lace panels offer an attractive background 
for the Festoon Drape when it is carried out without 
drops. 

When drops are used, either a pair of lace curtains 
or one-piece panel may be used. This is a matter of 
personal taste, but in any case, the treatment in regard 
to lace curtains should conform to that of the other 
rooms. 




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YMASS METHOD S- 



To make the Festoon Drape, refer to diagram on the 
opposite page. 

For Style 6 a wooden frame is required, as shown 
in Diagram 7B. It should be about 1 inch thick, 2 to 3 
inches wide and as long as the width of the window 
frame. It is projected out from the window frame 2 
or 3 inches, by means of blocks, thus affording clearance 
for lace curtains and window shades. 

Screw-eyes must be inserted in the back of the frame, 
about three-quarters of an inch from the top, and about 
2 to 3 inches from each end. 

When this has been done, place the frame in position 
above the window and mark places on the window frame 
for hooks. 

The hooks should be screwed into the window frame 
in such a way as to catch the screw-eyes of the curtain 
frame and hold it firmly. 

For a window 40 to 42 inches wide, the end tails 
should each be about 12 inches wide and as long as 
desired, and the festoon from 20 to 24 inches wide, 
according to the width of the window. 

In cutting material for the festoon, about 2 inches 
should be allowed for the work. Its depth, when com- 
pleted, should be from 15 to 17 inches. About 5 inches 
additional are required for the three pleats. (See Dia- 
gram 6B.) 

After the goods for the festoons have been cut the 
proper length and depth, cut the corners round, about 2 
inches from the edge, as shown in the diagram. 

Sew on fringe and hem the top. Then the three 
pleast are pinned at one end, and the operation is re- 
peated at the opposite end. See that each pleat takes 
in the same amount of fullness as the one directly oppo- 
site. Fold over the festoon to make sure that the ends 
are equal in depth. The pleats are then stitched and 
pins removed. 

Next get the measurement of the end of the festoon 
to use as a starting point, from which to mark off the 



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YMASS METHODS- 



first curve of the tail. Mark out the three curves on 
the goods as shown in Diagram 6A. 

It is advisable to place the end tails face to face and 
cut them at the same time. This is a sure way to get 
them symmetrical. 

Hem the two ends and then the tops and sew fringe 
around the scallops. 

For the loose 
pleats, cut goods 6 
inches wide a n d as 
long as the ends of the 
festoon. D o u b 1 e it 
over, right side in, 
and sew together in 
the form of a bag. 
Turn this, right side 
out, close up the open 
end and then press 
flat. (See Diagram 
No. 1.) 

To make the little 
pine h pleats, follow 
the method described 
in Style 3. (See Dia- 
gram No. 2.) 

Then sew tassel on 
the center, as in illus- 
tration. 

Next tack the tail 
drops to the upper edge of the frame and around the 
ends. Then tack the festoon to the frame in the same 
manner, making two little pleats at the center of the top, 
which allows for the curve of the festoon. (See illus- 
tration. ) 

The loose pleats are applied so that they cover the 
joints where end tail and festoon meet. A few stitches 
in the back are required to hold them in place. 

If desired, a tassel can then be attached to each tail 
drop. The drapery is then ready to hang. 




Home Draping is the Newest Fad- 



YMASS METHOD S- 



The wooden frame is also required for Style 7. It 
should be covered in the same material that is to be used 
for the drapery, with a padding- of sheet cotton under 
the cover. 

Tack the material tightly around the frame. Then 
tack fringe on the lower inside edge of the frame, as 
in illustration. 

For a window measuring 40 to 42 inches in width, 
the end tails should be about 10 inches wide finished, 
and as long as desired. The double festoon fills in the 
gap between. 

In cutting the width for the double festoon, about 
3 inches is allowed for the work. The depth is from 15 
to 17 inches at the center of the curve, with an additional 
allowance of about 5 inches for pleats. 

After material for the double festoon is cut the re- 
quired length and depth, with allowances mentioned, 
cut round corners at the extreme ends, starting about 2 
inches from the edge. 

Make a deeper cut at the center, as in Diagram 7C. 

Then hem ends and top and apply fringe. 

About three or four pleats are pinned at the center 
of the double festoon and the same repeated at the ends. 
The pleating is regulated so that the ends are about 2 
inches lower than the center, as illustrated. 

The two extreme ends are folded together and com- 
pared, so that they will be even in depth. 

The pleats are then stitched and the pins removed. 

It is advisable to place both lengths of goods for the 
tail drops face to face, and to cut them out at the same 
time, so that they will be perfectly symmetrical. 

Double fullness is required for pleating the tails. 

Get the measurement of the ends of the festoon to 
use as a starting point in cutting them out. 

From this starting point, measure in about 4 inches 
from the edge and about 8 inches along the bottom edge 
of the tail. Draw a line between these two points, 
slightly rounding the ends as shown in Diagram 7A. 



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After cutting out the design, hem ends and top and 
apply fringe to the biased edge. 

The tail is then placed flat upon the table and folded 
into two or three pleats to come within the space re- 
quired. Figure on an additional 2 or 3 inches to go 
round the block. The same treatment is applied to the 
opposite tail drop. 

The pleats should be temporarily held in place with 
pins and pressed. Then stitch them together across the 
top. 

The material for tail drops should be double, if both 
sides of it are not alike. Otherwise the folds will dis- 
close the wrong side of the goods. 

To make the loose pleat, first get the depth of the 
center of the finished festoon. A piece of material is 
required, about 6 inches wide at the bottom and 5 inches 
wide at the top. This piece of goods is doubled over and 
sewed in the shape of a bag, with the right side in. 

It is then turned right side out, sewed up at the top 
and pressed out flat. (See Diagram 7D.) 

The tassel is then attached as in illustration. 

Next place the frame on a table and mark the center 
of the back. The loose pleat is the first thing applied. 
Then the tail drops are tacked on, facing each other, with 
ends stretching around the inside of the blocks that 
project the frame. 

The festoon is then loosely tacked on, from center to 
right and from center to left, with ends extended at least 
2 inches behind each tail. 

A few stitches are applied to hold both festoon and 
tail drops in place, and also to hold festoon and loose 
pleat together. 

The entire operation of mounting the drapery is car- 
ried out on back of the frame. It is well to measure each 
side carefully before the drapery is permanently tacked 
to the frame. 

If desired, a tassel may be attached to the end of 
each tail drop. 



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The Modern Drape 

Style 8 

The Modern Drape was chosen as one of the styles 
to be described because of its simplicity. It is easy to 
make and easy to hang. 

It can be made from ahnost any curtain material and 
is appropriate for almost any room. 



Get the length of 
the window or door. 



=^ 






-^^ 







The depth of the 
valance for an ordi- 
nary 6 to 7 foot win- 
dow should be about 
12 to 13 inches at the 
center scallop and 
about 16 inches at the 
ends. 



Cut material the 
width of the window, 
allowing- sufficient 
goods to reach around 
the goose-neck rod, 
which i s preferable 
^ for a drape of this 
character, and as deep 
as the ends, with an 
allowance of an extra inch each way for the work. 

Fold the goods lengthwise in half, with the wrong 
side out, and secure with a pin. Then mark off with 
chalk, either the design illustrated or one of the two in 
the diagram. 



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•YMASS METHODS- 



Cut both thicknesses of fabric at the same time, 
starting from the fold in the center. 

This method of cutting will insure perfect symmetry 
when the valance is opened out. 

Sew braid or fringe at the bottom, carefully shaping 
along the lines of the design. 

Next hem the 
ends. 

Then fold over at 
the top and make a 
hem across for the 
rod casing. 

Cut drops the 
length desired. Sew 
fringe on them and 
hem all but the tops. 

Attach drops to 
the wrong side of the 
valance at the ex- 
treme ends. Sew 
them toward the cen- 
ter on the seam that 
is intended for the 
rod, making about two pleats, which should face toward 
the center from either side. 

For this purpose use a double goose-neck rod, the 
inner rod for the lace curtains and the outer one for the 
entire drapery just described. 




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Shirred Valance Drape 

Style 9 

A soft figured or plain material is required for this 
St)' le. Linen, Crash, Poplin, Chintz, Silkaline and others 
of similar texture may be used. 

This number is used to drape the sun-parlor, Dutch 

hall, den and bed- 












room. 

The shirred scal- 
lops can be made to 
extend the entire 
width of the window 
or between two 
shaped ends, as in il- 
lustration. 

Measure the win- 
dow for width and 
divide into equal di- 
visions of about 8 to 
10 inches each. 

Two of the sec- 
tions thus divided 
are reserved for the 
shaped ends. 



Cut goods for the shirred valance, allowing 2 inches 
extra to each division for fullness. The approximate 
depth is from 12 to 16 inches. Allow double fullness for 
shirring. 

After the goods have been thus sectioned off all the 
way across, cut scallops about 2 inches deep and sew on 
fringe. 

The marks should be drawn from the points between 




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YMASS METHODS- 



scallops to the top. Run a heavy thread across each of 
these lines and at the sides, from the points of the scal- 
lops, catching on the fringe. 

Then gather the pleats on the threads, making sure 
that they all measure alike, and fasten thread. This 
should be strengthened by stitching across once or twice 
on a sewing machine. 

The starting point, from which to cut out the end 
pieces, is measured down the same depth as the point 
of the scallop. Shape it as in illustration. 

Sew on fringe and hem the sides. Then join ends to 
the shirred valance and attach tassels. 

Fold over the entire width of the valance at the top 
and make a two-inch hem. Make another hem in the 
center of this, thus giving an inch for the heading and 
another for the rod casing. 

After the hanging has been placed on the rod, gather 
the extra fullness in such a manner that each division 
gets an equal proportion. 

Either the loop-back hanging or straight drop effect 
may be used. Style 3 includes a description of the loop- 
back effect. 

Use triple rod for lace curtains, or a double rod for 
hangings and valance only. 



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Combination Lambrequin 
Drapery 

Style 10 

A plain fabric must be used for this number, such as 
Pophn, Repp, Damask, Casement Cloth and similar 
materials. 

A ribbon, 2 to 4 inches wide, of a shade that con- 
trasts with that of the goods, or strips of Cretonne, 3 to 

5 inches wide, are 
applied for border 
effect. 







■ -Vi-V"- .'J'^S^/' ''■'f.'l '• /•j'-i'-i '•: 







This drapery is 
used for living--room, 
dining--room, dress- 
ino--room, library or 
reception hall. 

For a 6-foot win- 
dow, the depth of the 
Lambrequin should 
be about 14 inches 
at the center and 18 
inches at the ends. 
For a French win- 
dow or door portiere, 
the depth should be 
16 inches at the cen- 
ter and 21 inches at 
the ends. 



Cut the material the width of the window, allowing 
sufficient to reach around the rod or frame and as deep 
as the ends will measure, with an extra inch for the 
work. 

Place the goods on a table, with the wrong side to- 



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■YMASS METHODS- 



ward you. Mark off a line the entire length of the 
goods, about 5 inches from the bottom edge. 

Then space off the two ends, which should be the 
same width as the drops, with allowance for extending 
around the rod or frame. 

Cut out the rectangular piece between marks. 

Draw a chalk line, 2 to 3 inches above the bottom 
line of the shaped Lambrequin. Apply the ribbon or 
Cretonne border on this line by basting or with pins, 
carefully mitreing the corners. 

Sew by machine, with large stitches, regulating the 
bobbin so that it will feed thread loosely, if possible. 

Apply fringe at the bottom and hem ends. Then 
press the Lambrequin. 

If a wooden frame is used (See Diagram 7B), tack 
the Lambrequin to the upper edge of the frame, stretch- 
ing the goods tightly across and around the blocks. 

If a rod is used, turn goods over at the top and make 
a hem to form rod casing. 

Cut out the drops and draw a chalk line, about 2 or 3 
inches from the side and bottom edges, as in illustration. 
Apply Cretonne or ribbon border in the same manner as 
explained for Lambrequin. 

Hem around the sides and bottom. 

Place the two hangings face to face, to ascertain if 
they are of equal length. Then make hem at the top, 
if rod is to be used. 

It is well to press out the drapery to flatten down the 
border before hanging. 



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Shirred Curtains 

Style II 

Shirred Curtains are regaining their former popu- 
larity. 

Their use is not confined to any room in particular. 

If made from a light material, they take the place 

of a shade or lace 
curtain. 



When made 
fro m a colored 
fabric, they are 
used over lace cur- 
tains. 

As in other 
styles described in 
this book, the 
simplest method 
of making this 
drapery has been 
chosen from the 
several different 
ways possible. 

Cut the goods 
the width of the 
window, with an 

additional 2 inches for each section of shirring, and 4 

inches additional for hemming the sides. 

Allow about double material for length. 

Divide sections for shirring in spaces from 8 to 12 
inches wide. To mark the goods, press into distinct 
creases, or use chalk and pencil on the wrong side. 




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After the goods have been thus sectioned off all the 
way across, scallop the bottom about 2 inches deep and 
apply fringe. 

Then make a l^^-inch hem on each side. 

Across the bottom, about 6 inches from the deepest 
part of the scalloping, sew a tape on the back of the cur- 
tain for rod, which is to act as a weight. It is advisable 
to cover the rod with a heavy material before it is in- 
serted into the drapery to prevent rusting. 

Run heavy threads from rod hem to the top along the 
perpendicular lines that serve to section off the curtain, 
and also along the side hems. They must catch on the 
selvedge of the binding. 

Then gather the pleats on these threads, taking the 
precaution that they all measure alike, and fasten 
thread. To strengthen, run through on sewing machine 
once or twice, using heavy thread. 

Next sew on tassels between scallops. 

Make a hem at the top for the rod. 

After the hanging has been placed on the rod, gather 
extra fullness in such manner that each division gets an 
equal proportion. 




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Draw Curtains 

Style 12 

Draw Curtains may be made from Velour, Repp, 
Cretonne or other light-weight materials for windows 
or portieres. 

If the pinch or box-pleat effect is carried out, rings 

are attached on the 
wrong side of the 
pleating. 

If a valance is 
used over the draw 
curtains, ordinary 
pleats are made and 
the rings sewed 
upon them at the 
very top of the 
hanging. The lat- 
ter way permits of 
easier operation. 
The rings should be 
sufficiently large 
to pass readily over 
the rod or pole. 

For portieres or 
heavy curtains, it is 
necessary to use a 
curtain pole and Traverse rings. 

For windows, use an ordinary wire, stretched from 
two screw-eyes at each end, where the valance affords 
concealment, or use a solid rod. 

Screw a double pulley below one end of the pole, and 
a single pulley at the opposite end. The double pulley 
should be on the side from which you want the drawing 
string to operate. Then fasten another single pulley at 
the window sill. (See diagram.) 

For a French window or portiere, the last pulley 
should be screwed to the floor, close to the weather- 
board and behind the curtain. 




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.1 




Special pulleys, Traverse rings and cord to match 
most any shade are obtainable for this purpose. It is 
necessary that the cord be of a size that works readily 
through the pulleys; otherwise all manner of difficulty 
will be experienced in operating the curtains. 

Hang the finished curtain, with rings attached, on 
pole or rod. 

To have the draw curtains close tightly at the center, 
it is necessary to sew the first rings from the center, 
where drops meet, about an inch back from the edge. 
This results in the curtains overlapping when drawn 
shut. 

The side ends of the curtain that remain stationary 
should be fastened. 

Measure ofif the 

cord to twice the 

length of the cur- snioIipuGlY" 

tain and twice the 

width of the window, with about 6 inches 

allowance. 

Pass the cord through sill or floor pulley. 
( See Diagram 12 A. ) Carry both ends through 
the double pulley. Take one end of cord and 
measure off cord from the end of the rod to 
the other end and half way back. After pass- 
ing the cord from double pulley to ring 12C, 
tie it to that ring and continue passing through the 
single pulley back to ring 12B, fastening the end to that 
ring. Now take the other end from double pulley, draw- 
ing the cord tightly, and knot it to ring 12B. Cut ofT 
surplus cord. When this is properly done, the curtain 
will work back and forth very smoothly. 

Pulling one way will then open both curtains, and 
pulling in the opposite direction will close them. 

When drawing curtains, it is advisable to draw with 
one hand on each cord. This will permit of easier 
operation. 

After the draw strings have been used for awhile, it 
will be found necessary to re-tighten, which is done by 
detaching the cord at 12B and taking in the surplus. 



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